Admission requirements for BA and part time studies - Oboe

 

I. Etudes: 

Two etudes chosen by the candidate from the following editions:

 “Karl Mille: 10 or 15 Etuden”

and

“Nazarov: 27 Etudes”

 

 

II. Other pieces:

 

1. G. F. Telemann: Sonata in A minor

 

2.

either

J. Haydn: Concerto for Oboe in C major, 1st and 2nd movements (1st movement with cadence)

or

J. N. Hummel: Adagio - Theme and Variations

 

3.

either

a romantic piece chosen by the candidate

or

a 20th Century piece chosen by the candidate

 

At least one of the above pieces is to be played from memory!

 

 

 

GENERAL ADMISSION REQUIREMENTS - ONLY FOR FULL-TIME BA STUDIES

 

 

A. SOLFEGE, MUSIC THEORY

 

General requirements: in-depth understanding of the theory of classical harmony (diatonic and chromatic triads and seventh-chords). Writing and playing of four-part harmonic progressions in closed position with appropriate voice-leading (see rules of keyboard harmony); knowledge of Baroque and Viennese classical forms and genres.

 

Written examination

 

1. Dictation of a short chorale excerpt by J. S. Bach. Expectations: notation of the outer parts (soprano and bass); indication of the harmonic progression with figures above or below the bass line (figured bass)

2. Writing out, in close voicing, of a four-part harmonic progression (Roman and Arabic numerals of keyboard harmony are used)

3. Dictation of a tonal two-part musical excerpt.

4. Dictation of an atonal twentieth-century musical excerpt.

5. Dictation of a two- three- and four-part harmonic progression series (ca. 10 intervals, triads or seventh chords).

6. Dictation of the rhythm of an atonal musical excerpt (ca. 6 measures). 

 

Oral examination

 

1. Playing (on the keyboard) of four-part harmonic progressions in closed position with appropriate voice-leading.

2. Assessment of the applicant’s knowledge of form on the basis of a detailed formal analysis of the musical pieces performed at the instrumental audition. Extra copies of the scores have to be provided by the applicant.

3. Sight-singing of a tonal melody in unison.

4. Recognition and singing of intervals, triads and seventh-chords on a given pitch.

 

B. PIANO AS COMPULSORY SUBJECT 

 

1. Bach: a short prelude of higher difficulty level or a two-part invention.

2. A movement from a classical sonata, or a sonatina movement of the same difficulty level.

3. Bartók: one piece from ”Microcosmos III” or from the 2nd edition of ”For Children”.

4. A solo piece of the above difficulty level.

 

C. FOLK MUSIC

 

Informal conversation about the folk music of the candidate's country.

  
Music was and is an essential part of daily life in Hungary: the folk music of the various regions, the gypsy music that was absorbed into the national bloodstream, the native and foreign art-music, and the café music that was a combination of all these elements and others as well. All this explains why a country whose population, even today, is barely over ten million has produced so many musicians and so much outstanding music. I am grateful for having been born and trained there. (Sir Georg Solti)